memento; and if these tender passages were propor-
tionate to the building that commemorates them, they
were tender indeed. There has been much discus-
sion as to the architect employed by Francis I., and
the honor of having designed this splendid residence
has been claimed for several of the Italian artists who
early in the sixteenth century came to seek patronage
in France. It seems well established to-day, however,
that Chambord was the work neither of Primaticcio,
of Vignola, nor of Il Rosso, all of whom have left
some trace of their sojourn in France; but of an
obscure yet very complete genius, Pierre Nepveu,
known as Pierre Trinqueau, who is designated in the
papers which preserve in some degree the history of
the origin of the edifice, as the _maistre de l'oeuvre de
maconnerie._ Behind this modest title, apparently, we
must recognize one of the most original talents of
the French Renaissance; and it is a proof of the vigor
of the artistic life of that period that, brilliant pro-
duction being everywhere abundant, an artist of so
high a value should not have been treated by his con-
temporaries as a celebrity. We manage things very
differently to-day.

The immediate successors of Francis I. continued
to visit, Chambord; but it was neglected by Henry IV.,
and was never afterwards a favorite residence of any
French king. Louis XIV. appeared there on several
occasions, and the apparition was characteristically
brilliant; but Chambord could not long detain a